Axel Davieau - Press Production Guide - Writing Sample

Production Guide for Fairleigh Dickinson Press AuthorsIt is a pleasure for us at Fairleigh Dickinson University Press to work with our authors and editors to develop projects for publication.

After the evaluation process is complete and your manuscript has been approved for publication, the final draft will be forwarded (in hard and electronic copy) to the editors and production personnel at Rowman & Littlefield in Maryland.

The following pages contain their instructions and guidelines for authors and editors. (Not all will be applicable to you.) Following these instructions when preparing your final manuscript and responding promptly to correspondence with your editors will avoid delay in production of your book.

Contents:

Manuscript Preparation Guide 2 Artwork Guide 9 Tables Guide 14 Manuscript Formatting Checklist 18 Permissions Guide 20 Author Questionnaire 28 Edited Collections Guide 31 Marketing Overview 33 Consent to Publish Agreement (Contributors) 35 Consent to Publish Agreement (Translators) 37 Photo Consent 38 Revising Your Dissertation for Publication 39

Let us know if we can help in any way.

Harry Keyishian, Director (M-GH2-02) Fairleigh Dickinson University Press 285 Madison AvenueMadison NJ 07940  USA973-443-8564

Our on-line catalog:www.fdu.edu/fdupress

Rowman & Littlefield: http://www.rowmanlittlefield.com/

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MANUSCRIPT PREPARATION GUIDE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

Rowman & Littlefield (R&L) uses the Chicago Manual of Style, 16th ed., and Merriam-Webster’s Collegiate Dictionary, 11th ed., as style and spelling guides. We encourage you to do the same. If your manuscript follows a different style guide, please consult with your acquisitions editor.

Please read through these guidelines in full. Your manuscript should conform as closely as possible to these guidelines, or it may be returned to you for revision. If you have questions, please contact your acquisitions editor.

SOFTWARE

We accept Microsoft Word files in both PC and Mac formats. If you used WordPerfect or some other software, you must convert your files to Word before submitting them to your acquisitions editor. Please review your files to make sure that no errors were caused by the conversion. We request that editors of collective works submit all parts of their book in the same word processing program.

PERMISSIONS

It is the author’s responsibility to obtain written permission from the copyright holder and to pay to reproduce copyrighted material, including music lyrics, poetry, artwork, and previously published works. Permission from the author will only be sufficient if full rights of publication have been reverted to that author, in writing, by the original publisher.

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If you are working on a revised edition for which items in the previous edition required permission, you must re-obtain permission for those items.

You must provide R&L with the original, signed permissions and the source credit line that we are required to include in the published book. We highly recommend that authors do translations themselves wherever possible because original translations of foreign language works in the public domain do not require permission. For more on copyright and permissions and sample permissions letters, refer to the R&L Permissions Guide.

PREPARING YOUR MANUSCRIPT

During the typesetting process, we will format the text into book pages. In order for typesetting to be as trouble-free as possible, it is imperative that you format your manuscript as follows:

Use 12-point Times or Times Roman for all text (including subheadings, quotes, notes, and bibliography).

Pages should be double-spaced with one-inch margins (including the notes and bibliography).

Save each chapter and parts page in its own file. File names should be easily recognized, for example, contents.doc, intro.doc, ch01.doc, biblio.doc. This includes each separate part of the front matter (e.g., title page.doc, dedication.doc, contents.doc, acknowledgments.doc).

Please number pages sequentially throughout the manuscript (do not begin each chapter with page 1). This will save us an enormous amount of trouble. You can change the page number a file begins on using the InsertPage NumbersFormat box.

Quotes of five or more lines should be extracted and indented one-half inch from the left margin.

Do not use the space bar to indent the first line of a paragraph. Use a tab, preferably, or Word’s indent feature.

Do not insert a blank line between paragraphs. If you need to indicate a change of subject without using a subhead, type “<break>” on a line by itself (so we know you intended to have a blank line), but keep these to a minimum.

If you copied and pasted text from, for example, an e-mail or a PDF, remove mid-sentence hard or soft returns.

Do not use hyphens to break words at the ends of lines; let lines wrap naturally. Turn off the hyphenation feature of your software.

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Use italics for emphasis. Do not use underlining. Text should be left-justified, not fully justified. (Full justification hides

spacing problems.) Do not use the Word indexing function. (The hidden text shows up in the

typesetting process and has to be manually removed) Do not change font sizes or styles throughout the manuscript. Stick to

12-point Times or Times New Roman font, even for subheadings. Please alert your editor to the use of special characters and/or diacritical

marks. It is the author’s responsibility to provide font files for non-Latin alphabets if they are needed.

As an academic publisher, we require a bibliography in all of our monographs. Bibliographies are also highly preferred for books of conference proceedings. Please see 14.14 in CMS 16th edition.

Prepare a table of contents: list all parts/sections; chapter numbers, titles, and subtitles; bibliography/references; and authors (if an edited collection). We use your contents to verify that we have all parts of your manuscript, so be sure it is complete. For page numbers in the table of contents, type 000 (page numbers will change in typesetting).

Leave no comments, tracked changes, highlighting, or hidden text in the final version of the manuscript.

Make sure the electronic chapter files match the hard copy and have not been altered in any way.

CHAPTER TITLES AND SUBHEADINGS

Chapter titles, subtitles, and subheadings should be brief but meaningful. Do not place note numbers on chapter titles, subtitles, author names, or

subheads. Subheads should not be numbers only. If you would like to use an outline

format, check with your acquisitions editor first. Set each subheading on its own line. Avoid starting a chapter with a subhead, especially “introduction.” If you need to indicate a change of subject without using a subhead, type

“<break>” on a line by itself (so we know you intended to have a blank line), but keep these to a minimum.

Subheadings are used to make your organization clear to your readers; there should be no need for more than three levels of subheads, and you may not have that many, or any at all, depending on the type of book (textbooks must have subheadings). Type subheadings as follows:

1. First- or A-level subheads: center the text and type in upper- and lowercase:This Is How an A-level Subhead Should Appear in Your Manuscript

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2. Second- or B-level subheads: set the text flush left and type in upper- and lowercase:

This Is How a B-level Subhead Should Appear in Your Manuscript

3. Third- or C-level subheads: set the text flush left, italicized, and type in upper- and lowercase:

This Is How a C-level Subhead Should Appear in Your Manuscript

It is okay for a subheading to be the last line on a manuscript page—this will be adjusted in typesetting.

Subheadings are capitalized the same way book titles are: The first and last words are always capitalized, as are all other words except articles (the, an, etc.), prepositions (through, in, etc.), and coordinating conjunctions (and, or, etc.).

CITATIONS AND DOCUMENTATION

R&L accepts two citation styles: endnotes plus bibliography (humanities) and author-date. If you wish to use an alternate style (e.g., AAA, APA), first get approval from your acquisitions editor. APA style is acceptable for Jason Aronson authors. All chapters in your book must use the same citation style (unless it consists of previously published material).

All endnotes should be embedded in the chapter file. This can be done by linking references to their respective endnote using the Word function. ReferencesInsert Endnote

For samples of acceptable formatting, refer to: http://www.chicagomanualofstyle.org/tools_citationguide.html. For anything not covered there, refer to the Chicago Manual of Style, 16th ed., chapters 16 and 17.

Truncating Page Numbers

Truncate cited page numbers in the following style: There is no truncation for single- and double-digit numbers plus multiples of 100 (e.g., 1–5, 10–11, 15–19, 100–101, 300–310); keep the last digit for numbers 101 through 109 [and multiples thereof] (e.g., 105–9, 203–4) and for three or more digits (e.g., 147–48, 2257–63).

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Endnotes versus Footnotes

R&L publishes all books with endnotes, not footnotes. If you prepared your manuscript with footnotes, please convert them to endnotes before the final submission. You can do this by highlighting the notes, right clicking, and selecting “Convert to Endnote.”

ABOUT THE AUTHOR(S)/CONTRIBUTORS

R&L books include mini-biographies (i.e., About the Authors or About the Contributors) at the end of each book. These should be fairly short—usually one or two paragraphs per author—and include both academic and professional accomplishments. Samples are available from your acquisitions editor.

TABLES AND TEXTBOXES/SIDEBARS

If you have tables in your book, refer to the R&L Tables Guide. We will import all of your manuscript files (especially tables) into our typesetting software, which allows us to avoid rekeying and thus typos, so it is important that you follow these guidelines.

Use Word’s tables feature to produce tables; this will ensure proper column/row alignment. Do not use tabs or spaces, which cause alignment problems.

Do not use spreadsheet software (e.g., Excel) to create tables. Include captions and sources (if any) on all of your tables and textboxes. Textboxes should be typed just like regular text, without boxes, rules, or

shading. Double-number your tables and textboxes so the first number is the

chapter number and the second number indicates the sequence (e.g., table 2.3 is the third table in chapter 2).

Save each table or textbox in its own file, named for the item (e.g., “box3.1.doc”). Do not submit tables or textboxes in the text of the chapter files. Use callouts (see below).

Place callouts near where you would like tables and textboxes to appear (e.g., <table 3.3 near here>).

Tables and textboxes will be placed as near their callouts as text allows, but that is not determined until typesetting, so do not refer to tables and textboxes as being “above,” “below,” or on a specific page.

Direct your readers to your tables and textboxes by referring to them in

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the text by number (e.g., “table 3.3 shows . . .” or “see box 3.1”). If you would like your book to have a list of tables in the front matter,

you must include it in the manuscript and list it in the Table of Contents.

ARTWORK

Submit all artwork to your acquisitions editor for review as early as possible. Whether you submit hardcopy originals or digital artwork, you must follow the criteria (format, sizing, resolution, etc.) found in the R&L Artwork Guide.

Save each image in its own file, named for the item; acceptable file formats, in order of preference, are .tif, .jpg, .pdf, and .eps

Do not submit any digital artwork in the text of the chapter files. Use callouts (see below).

Double-number your artwork so the first number is the chapter number and the second number indicates the sequence (e.g., figure 5.1 is the first figure in chapter 5).

Direct your readers to your artwork by referring to it in the text by number (e.g., “figure 5.1 shows . . .” or “see figure 5.1”).

Place a callout for each piece of art near where you would like it to appear (e.g., <figure 5.1 near here>).

Artwork will be placed as near its callout as the text allows, but that is not determined until typesetting, so do not refer to artwork as being “above,” “below,” or on a specific page.

Gather all of your figure numbers and captions and all source/credit lines in one file named “captions.doc.” They should not appear on the artwork.

If you would like your book to have a list of illustrations in the front matter, you must provide one in the manuscript and list it in the Table of Contents.

SUBMITTING YOUR FINAL MANUSCRIPT

Have you made all changes requested by the University Press and your acquisitions editor? Have you checked the Author Contracts for Typesetting Checklist?

Have you run spell-check and proofread the final manuscript carefully? Remember, your submitted manuscript will be considered final. Once the project is sent into production, revisions will not be accepted. We will correct errors during proofreading.

Have you included all necessary permissions letters for tables, art, photos, previously published materials, quotations, etc.?

Have you created separate files for each chapter and any other sections of your manuscript? Have you used file names that are easily

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recognizable? For example, contents.doc, intro.doc, ch01.doc, biblio.doc. We do not need a printout of the manuscript, however, if it contains

special characters (e.g., non-Latin characters/diacritics, directional symbols, equations), alert your acquisitions editor to their presence. If you have used a different alphabet (such as Hebrew or Cyrillic), characters (such as Chinese), or diacritical marks in your text, please include a copy of the font file (e.g. Simsum for Chinese), in case we or the printer do not have it.

If you cannot supply electronic versions of your artwork, mail the originals to your acquisitions editor so they can be scanned. They will be returned to you when your book is published.

E-mail all of your files to your acquisitions editor, however, ask if large art files should be sent using an alternate method (mailed on media or via FTP).

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ARTWORK GUIDE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

The majority of book projects will not have artwork. However, if your book includes artwork (e.g., graphs, drawings, diagrams, maps, photographs, etc.), please discuss your proposed artwork with your editor as soon as possible, well before submitting the manuscript to production. You are responsible for supplying your illustrations in final form by the time you deliver your final manuscript to the publisher.

We accept two kinds of artwork: digital artwork (i.e., scanned, created electronically using software, or taken with a digital camera) and original, hardcopy artwork (i.e., “camera ready” art). Both are explained below. To reproduce your images at the highest possible quality, we must receive artwork from you that meets the specifications found in these guidelines. If your artwork does not meet these specifications, you will need to revise it or find replacement images.

PERMISSIONS

If you have taken artwork from another source, you must obtain and pay for permission to reproduce those images by the time you submit your final manuscript. You must also supply credit/source information with your captions. Please forward all original, signed permissions to your acquisitions editor as soon as you have them. Remember to make a copy for your records. Without permission or a clear indication that the work is in the public domain, we will not be able to use the art.

DIGITAL ARTWORK

We will quality-check all of your digital artwork, and you will need to replace or drop from your book any images that fail to meet our standards. If you are providing digital artwork:

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The minimum resolution should be 300 dpi (dots per inch) for images 4" × 7" or larger and 600 dpi for images smaller than 4" × 7". See the Sizing Artwork section below. If in doubt about the size of the image, try to get the image at 600 dpi.

Acceptable file formats, in order of preference, are .tif, .eps, .jpg, .pdf. Unacceptable file

formats: .gif, .doc, .docx, .dot, .wpd, .xls, .xlt, .png, .bmp, .psd.

Specif ications for Scanning Artwork

We strongly encourage you to send original artwork to us for scanning. If that is not possible, please follow these guidelines:

Use a middle- to high-end flatbed scanner or a drum scanner. A handheld scanner will not produce quality scans.

All images 4" × 7" or larger should be scanned at a minimum of 300 dpi; anything smaller should be scanned at 600 dpi.

Scan images at their actual sizes. If an image is too small to clearly see detail, then you may enlarge it in scanning. However, this will magnify imperfections, so if the imperfections are too noticeable, don’t use the image.

Do not specify a line screen value. Save the image as a grayscale. If the image is being scanned from a previously printed source (e.g.,

book, newspaper, magazine), then you must use the “descreening” option to remove the screen or dot (moiré) pattern.

Files must be saved in the .tif, .eps, .jpg, or .pdf format. If the scan is crooked or needs to be cropped, import the image into

Photoshop (or an equivalent photo editor) and straighten or crop it there or provide a printout of the image and mark how you would like it cropped.

If you have a color image that will be reproduced in black and white, send it to us for scanning.

ORIGINAL “CAMERA-READY” ARTWORK

Original artwork must be “camera ready”—meaning it meets the specifications below. Your art will look the same in the book as it does in the version you submit. We are not able to make alterations to improve the appearance of art, and art quality is not enhanced when reproduced in a book.

Photographs, Sl ides, Transparencies, Paintings, Drawings Photographs with a glossy finish are preferable, but a matte finish is

acceptable.

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The more contrast a photo has, the better it will reproduce. For example, the darkest areas should be black, not gray; the lightest areas should be pure white, not light gray; and there should be a full range of gray shades between these extremes.

When necessary, crop marks, horizontal or vertical orientation, enlargement of details, etc., should be indicated on a photocopy accompanying the original.

We can scan slides, but it is possible that when we enlarge the scan of the slide, the image may become distorted. If less than the full image is required, we will need to see a printed copy of the image showing cropping instructions.

We accept color images, but detail may be lost when we convert them to black and white. We never reproduce artwork in color, except on front covers.

Line Art (Graphs, Charts, Maps, Diagrams) We prefer you to use Illustrator, Photoshop, InDesign, QuarkXpress,

PageMaker, or Freehand to create original line art. However, you may also use Microsoft Word or Excel.

Line art should be only black and white. Do not use color when preparing line art.

Patterns should be used to differentiate between areas such as the bars on a graph. Avoid using grayscale (i.e., shades of gray), which causes legibility problems and creates difficulties at the printing stage.

Symbols should be used to distinguish plotted points on a graph. Minimum line widths/weights should be at least 1/2-point. Anything

thinner will not reproduce well. Line art should be provided as a high-quality laser printout at a minimum

resolution of 1200 dpi (dots per inch). If the image is smaller than 4" × 7", then the minimum resolution should be 2400 dpi.

SIZING ARTWORK

We publish most of our books at a 6" × 9" trim size. For art to fit on a 6" × 9" book page, it should be no larger than 4" 7". However, before you finalize your art, check with your acquisitions editor about the trim size and print area of your book.

Any text labels in your artwork should be sized at 8–10 points, so keep that range in mind when creating the dimensions of your artwork. If your artwork exceeds your book’s dimensions, it will be reduced, which could cause detail or text labels to become illegible. If this happens, we will ask you to resize the art and its text.

We do not enlarge artwork, as it degrades image quality. Use only one font for all of your artwork’s labeling. It should be a sans-

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serif typeface, such as Arial or Helvetica. This style of typeface is more legible at smaller sizes than serif typefaces (e.g., Times, Garamond) and will not “clash” with the serif typeface used for the main text.

We cannot make editorial corrections to artwork in-house. Artwork with errors or inconsistencies will be returned to you for correction, so make sure the artwork’s spelling, hyphenation, and capitalization choices matches those used in the text. Our production editors and proofreaders follow Merriam-Webster’s Collegiate Dictionary, 11th ed., and the Chicago Manual of Style, 16th ed., so if you have any doubt on how something should look, consult these references.

Volume editors: Please ask all of your contributors to use the same font for labeling artwork; it will give your book a more cohesive look.

IMPORTANT NOTES Artwork should be complete at the time you submit the final draft of your

manuscript. Prior to that point, please submit artwork for evaluation to your acquisitions editor.

Double-number artwork so the first number is the chapter number and the second number indicates its sequence (e.g., figure 3.2 is the second figure in chapter three).

Digital files should be named using the figure number in the file name. Do not use a file name for your image that does not include the figure number.

All figure captions (including figure numbers) and their source/credit lines must be gathered together and put in one file named “captions.doc.”

If you would like your book to have a list of illustrations in the book’s front matter, you must include one in your manuscript.

Use photocopies to show where you would like art cropped. Do not incorporate digital artwork into the chapter files; each

image must be in its own file. Digital artwork should be supplied in its original format.

Place a callout for each piece of art in the chapter near where you would like it to appear (e.g., <figure 3.2 near here>). Any images that do not have callouts may not be placed in the final layout.

Artwork will be placed as near its callout as the text allows, but that is not determined until typesetting, so do not refer to artwork as being “above,” “below,” or on a specific page.

Label all camera-ready artwork on the back with the author name and figure number. Avoid writing directly on original artwork as it could mar the surface.

Do not use paperclips to attach artwork: they can scratch the images. Camera-ready artwork should be placed in a sturdy folder or envelope

and mailed to your acquisitions editor. We prefer to receive digital artwork as uncompressed files.

We cannot guarantee the safe return of original photographs or one-of-a-

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kind artwork, so instead please supply high-quality reproductions. However, if you do supply original artwork and would like us to return it to you, please provide a list of which pieces you would like returned and the address to which you would like them sent. Artwork will not be returned until after the book has been published.

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TABLES GUIDE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

Follow these instructions to create tables:

1. Use the Tables feature of Microsoft Word* to create all tabular matter.

2. The body of a table is composed of vertical columns of information. Avoid mixing different types of information in the same column; separate money from percentages or information expressed in words. Keep items consistent in form, as well (e.g., don’t abbreviate some state names and spell out others).

3. Before creating the table body, type “Table” and the table number in double-number format (e.g., Table 2.1 would be the first table in chapter 2) followed by the table title. For the title, strive for brevity and objectivity. For example, use “Recidivism among Reform School Parolees” rather than “High Degree of Recidivism among Reform School Parolees.” If you have a short bit of important explanatory information (e.g., unit of measure, statistical information), it can be included in parentheses after the table title or heading. More detailed information should be placed in a note at the bottom of the table (see no. 7 below).

4. To create the table body, go to the Table menu, choose Insert, then Table. Enter the number of columns and rows your table should have, then press OK. Columns and rows can be added later if necessary, but it’s best to have the correct number to begin with.

5. Keep column headings short. If a column head or text runs to a second line, let it wrap automatically and don’t worry about awkward word or line breaks. We will fix such problems during typesetting.

6. If column headings must straddle two or more columns, use the Merge feature. With the mouse, place the cursor in the left-most cell that you want to merge, press and hold the left button of your mouse and drag the cursor to the right until you have selected (highlighted) all of the cells you want to merge. Release the mouse button and then go to the Table menu and select Merge Cells (or right-click and choose Merge Cells).

7. If footnotes are necessary, they should appear below the table. There

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are four different kinds of table footnotes, and they should be placed in the following order:

Source. If the data for your table came from another source or sources, provide complete information about the source(s). If a table is reproduced without change from another source, you must obtain permission to reuse it (which you will need to provide to us) and supply the full credit in the source line. The source line appears just below the table, beginning with Source: or Sources: followed by full citation.

A note applicable to the whole table. This is used for providing information about how data were gathered, the reliability of the information, and so on. Place the information following Note or Notes.

Notes specific to a part of the table. In the table body, place a lowercase superscript letter (starting with a) to the right of the item that the note addresses. At the bottom of the table, insert the same superscript letter and then type the note. Do not put a note callout on the table title.

Notes on statistical significance levels/probability notes. These notes are inserted at the bottom of the table only. Use asterisks to differentiate between levels of significance: a single asterisk is used for the lowest level, two asterisks for the next level up, and three asterisks for the highest level of significance.

*These instructions are specific to Word 2003, however most word-processing programs have similar features.

8. Save each table in a separate file named for the table number (e.g., the file name for table 2.1 would be “table02-01.doc”). Do not insert your table into the chapter files. Instead, use a callout (see note 10).

In addition:

9. In your manuscript, direct your readers to your tables by referring to them by number (e.g., “table 2.1 shows . . .” or “see table 2.1”).

10. After the paragraph in which you reference a table, insert a callout for the typesetter (e.g., <table 2.1 here>). Tables without callouts may inadvertently be omitted from the final layout.

11. Tables will be placed as near to their callouts as text allows, but exact placement is not determined until typesetting, so do not refer to tables and textboxes as being “above,” “below,” or on a specific page.

12. If you find your data is too wide to fit on one page, change the page setup to “landscape” (a.k.a., “broadside”). Go to the File menu and select Page Setup; on the Margins tab select Landscape for orientation and then click “OK.” If it is still too wide to fit (even when

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reduced to 10-point type), then it is too large for the book, and you will need to edit it or divide it into two or more tables. The exception may be if your book will be published in a format larger than our standard 6” x 9” trim size. Please confirm the planned dimensions for your book with your acquisitions editor.

13. In addition to submitting the table files, you must also submit printouts of the tables that show correct column and row alignment. On the printouts, you may also write in symbols and formatting you were unable to accomplish electronically.

14. For a more in-depth discussion of table creation and formatting, refer to chapter 13 of the Chicago Manual of Style, 16th ed.

The following samples were created using the table tool in Microsoft Word. For space considerations only, we have placed more than one table per page.

Table 1.1. Florida Drug OffendersArrest History

Violent Felony Crimea Nonviolent Felony CrimesDrug Offense Offenders

Percent None

Concentration Indexb

Percent Zero or One

Concentration Indexb

Possession 45,906 76.0 34.4 42.2 34.1Sale 8,472 65.5 26.2 27.8 18.0Smuggling 384 69.5 29.6 40.4 19.8Production 452 86.5 41.9 63.3 23.7Trafficking 3,308 82.6 40.3 53.3 22.0Delivery and distribution 1,997 69.4 28.5 31.9 20.4Possession of drug equipment 6,256 68.2 30.1 31.0 18.8

Source: Trager and Clark (1989).Note: Drugs addressed in study were cocaine, heroin, ecstasy, and marijuana.aViolent crimes include homicide, sexual assaults, robbery, aggravated assault, kidnapping, and arson (zero or one). Nonviolent offenses include burglary, larceny, automobile theft, and drug felonies.bThe proportion of arrests in each category is accounted for by the 2.3 percent of the population that is most frequently arrested. These offenders exceed the mean number of arrests by two standard deviations.

Table 1.2. Leading Television Markets for Religious ProgramsEastern Core Western Core OtherGroup Aa

Birmingham, AL Little Rock, ARCharleston-Huntington, WV Tulsa, OKGreenville-New Bern-

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Washington, NCGreenville-Spartansburg, SC-

Asheville, NCJohnstown-Altoona, PAKnoxville, TNNorfolk-Portsmouth-Newport

News-Hampton, VARaleigh-Durham, NCRichmond, VARoanoke-Lynchburg, VATampa-St. Petersburg, FL

Group Bb

Augusta, GA Dallas-Fort Worth, TX Mobile, ALCharlotte, NC Kansas City, MO/KSChattanooga, TN Jackson, MSCincinnati, OH Monroe, LA-El Dorado, ARJacksonville, FL Wichita Falls, TX-Lawton,

OKTallahassee, FLWheeling, WV-Steubenville, OH

aOver 60,000 viewing households and over 15 percent viewing rate.bEither 60,000 viewing households and moderate (7–15 percent) viewing rate or 40,000–60,000 households and high (over 15 percent) viewing rate.

Table 1.3. Differentiating Characteristics of the Species of the Genus Rhodobacter

Characteristic R. Capsulatus R. Sphaeroides

Cell diameter 0.5–1.2 0.7–4.0

Motility + +

Slime formation ± ±

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MANUSCRIPT FORMATTING CHECKLIST

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

Please follow the following guide for manuscripts being typeset by R&L. If formatting guidelines are not met, we will return the manuscript to the author to fix, which may delay the book’s publication date. For more detailed guidelines, please consult the R&L Typeset Manuscript Preparation Guide provided with your contract.

Guidelines apply to ALL front matter, chapters, end notes, and back matter.

12-point, Times New Roman font

1-inch margins top, bottom, left, and right

Double spaced

0pt spacing before and after each paragraph (can be changed in Format – Paragraph)

Remove any bold or underlined font (use italics for emphasis, titles, etc.)

Text is left-justified, not fully justified

Endnotes are embedded using the Microsoft Word reference function

All page numbers are changed to be sequential (i.e. If Chapter 1 ends on page 38,

Chapter 2 begins on page 39)

Page numbering of front matter is in lower-case Roman numerals

Remove any line spaces between paragraphs or references

Remove superscript format from endnotes (can be changed in Format – Font), but keep reference numbers in text body as superscript

Footnotes are converted to endnotes

Endnotes use Arabic numerals, not Roman numerals and are followed by a period

For figures/graphics:

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Figures and images are in eps, tiff, jpeg, or pdf format and at 300 dpi-600 dpi, at the size they will appear in the book

Permissions for images have been obtained and provided

Whenever possible, figures/graphics are black and white only, no color or grayscale (this will come out much clearer in the book)

For charts and graphs, use patterns in lieu of colors and symbols to distinguish plotted points

All figures/graphics are saved as separate documents with a file name indicating their chapter/figure number (see R&L Artwork Guide)

Tables and textboxes are saved separately in Word documents (see R&LTables Guide)

Callouts are correctly placed and match graphic titles

Captions are provided

Submission:

Send 2 electronic files, one as a single file and one with each chapter in separate files

Send 1 hard copy, unless otherwise specified by your editor, to the university press (do not send to R&L)

Send all necessary consent forms and permissions (see the R&L Permissions Guide) to the university press with the final electronic and/or hard copy manuscript

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PERMISSIONS GUIDE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

As the author of the work, you are required to secure all permissions in your manuscript. As you draft your manuscript, you should keep track of any material that may require permission. Begin requesting permission from the copyright holders of the material as soon as you possibly can—before your final draft is sent to your editor. Obtaining permissions can take a long time, and you will want to get an early start. Rowman & Littlefield cannot send books into production until all permissions have been received.

We publish the majority of our books throughout the world in both print and e-book form. When requesting permission, you should request non-exclusive, World distribution rights, for all languages, in print and electronic (eBook) formats for the life of the edition. Once all the permissions are received, you will need to make a log of them, and then forward the log and permissions to your editor, keeping a photocopy for your records.

A NOTE ON FAIR USE

The U.S. Copyright Code is purposefully vague regarding the concept of fair use. Legally, fair use is based on the cumulative consideration of 4 factors as per Section 107 of the U.S Copyright Code found here: (http://www.copyright.gov/fls/fl102.html). Due to the vague nature of the law, owners of a work’s copyright (often the publisher, but sometimes the author or another party) are free to interpret the parameters of fair use as they see fit. Some owners have a loose vision of fair use giving scholars a wide berth to quote, while others are incredibly protective. Moreover, some owners will renew a work’s copyright before it enters the public domain (a term discussed further in this guide) in order to control its reproduction. It is the official position of the Rowman & Littlefield’s rights and permissions department that authors should secure permission for all copyrighted material in order to be absolutely positive that the book is not violating any individual copyright holder’s interpretation of copyright and the fair use law. However, in practice the permissions department has set the following

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guidelines in order to give authors a certain amount of flexibility to incorporate copyrighted material in their work. Though other presses may have slightly different guidelines, the following guidelines are in line with what many other publishing houses adhere to. It should be noted that our guidelines DO NOT supersede a copyright holder’s interpretation of fair use.

WHAT REQUIRES PERMISSION?There are several types of material that require written permission:

Fiction, drama (plays, television, film), letters, and translations of the same. You must obtain permission to reprint over 300 words from a single work of these in the context of an analysis.

Epigraphs. Using quotations (fiction or non-fiction) for epigraphs is never fair use and always requires permission, no matter the length of the quotation. Some copyright holders of fiction are extremely vigilant about reproduction of their works.

Poetry. You must obtain permission to reprint extracts longer than 3 or 4 lines. For poetry extracted from short poems, you must obtain permission to reprint extracts longer than 1 or 2 lines. These fair use allowances apply to poetry under copyright published from 1923–1949 provided that the poems are the subject of discussion. Poetry of any length published from 1950–present must be accompanied by permission from the copyright holder. Poetry used in entirety must be accompanied by permission from the copyright holder if the poem is currently under copyright (1923–present.) Poetry published before 1923 is considered public domain. Poetry permissions are often hard to get or expensive. We recommend that you include such material sparingly in your book and only when absolutely necessary to your critical analysis. If you need clarification to determine if poetry extracts will require permission, please consult with your editor.

Song lyrics of any length. Such permissions are often hard to get or expensive. We recommend that you do not include such material in your book unless absolutely necessary.

Translations. Excerpts from foreign language works currently under copyright require permission from the copyright holder within the same parameters as noted above. We highly recommend that authors do translations themselves wherever possible because original translations of foreign language works in the public domain do not require permission. Translation rights must be obtained to translate foreign language work under copyright into English.

Photos and artwork. Be sure that you obtain permission from the copyright holder and that you correctly determine who that is. The

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person or institution who holds the physical photo is not always the copyright holder.

Tables, figures, and graphs that are reproduced from copyrighted sources require permission. If you create your own table/graph using data from another source, it does not require permission.

Personal photos. A signed release should be obtained from all individuals appearing in photos you take for inclusion in your book.

Interviews. Consent forms must be obtained from interviewees if you are quoting long passages (more than a few paragraphs), or if the content might be considered controversial; the interviewee should know that his words will be published and sold throughout the world, and he must give written consent to that. Short, noncontroversial quotations do not require permission, but you should provide a note explaining the source (or in some cases you might briefly explain the circumstances of the interview within the text). You should certify in your note that the interviewee was aware that his/her remarks might be published in a book/journal. If you are quoting portions of an interview with a person to whom you have promised anonymity, you must still get their written consent; you can submit the consent to the publisher or provide a letter in which you attest to your possession of the consents.

Quotations. There is no legally mandated number of words that can be quoted without permission (i.e., considered fair use). If you use more than one quotation from a single source, you should add the number of words in each quote together. If the total for all quotations from one source (not per quotation) constitutes a significant portion of the original work, you must get permission; 500 words quoted from a book-length, scholarly source is a good rule of thumb, but is not absolute. The Chicago Manual of Style, 16th edition, offers some guidelines on whether your quotation is fair use:

How significant a portion of the original work are you using? Quoting 1,000 words from a 5,000-word article is less acceptable than quoting 1,000 words from a 50,000-word article.

How significant a portion of your work does the quotation constitute? The quoted material should not begin to “overshadow” your own material, and you should not overquote to avoid drafting an argument yourself.

Would the use have an effect on the potential market for, or value of, the original work?

If the quotation itself is the subject of your book, your use might be considered fair use, but you should be very conservative in this approach.

Unpublished material. Guidelines for fair use are even stricter for unpublished material than for published material. Unpublished material is protected whether or not it has been registered or includes the copyright symbol. Anonymous or works for hire are protected until 120 years from date of creation. Unpublished works written before 1978 by a

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named author are protected for the life of the author plus 70 years and in no case will have expired before December 31, 2002.

Web-based material. Do not assume that illustrations or other material you find on a website can be freely downloaded and used. Copyrighted works on the Internet include news stories, software, novels, screenplays, graphics, pictures, Usenet messages, and email. If you are considering using material that is under a Creative Commons license, be sure to check the creator’s licensing conditions, which can limit commercial re-use.

Contributions toward an edited volume. If you are the editor of a collected volume, your acquisitions editor should send you release forms for each contributor to sign.

Chapters reprinted from an earlier source require permission from the original copyright owner. Do not assume that the writer of the chapter/selection is the copyright owner. The journal in which the chapter first appeared or the original publishing company may hold copyright, and there may be restrictions on reprinting. This includes material that you have published.

For an additional discussion of fair use, see http://www.centerforsocialmedia.org/resources/publications/code_for_media_literacy_education/

Several types of material don’t require permission:

Material in the public domain. Material that has been copyrighted for more than 95 years is considered to be in the public domain in the United States. Work that has been created before 1978 but not published is considered to be in the public domain 70 years after the death of the author, but in no case will copyright have expired earlier than December 31, 2002. However, copyright laws vary from country to country, and your book may be marketed abroad. In the United Kingdom and many other countries, an author’s work is copyrighted for 50 years after his death. See the web site of the U.S. Copyright Office for details (http://lcweb.loc.gov/copyright). See also http://www.copyright.cornell.edu/public_domain for a useful overview of types of material that is in the public domain, as well as the Chicago Manual of Style, 15th edition. You should thoroughly research the copyright status of any book you believe to be in the public domain, unless it is so old (say, before 1875) that it could not possibly be copyrighted in any country. Please note that modern translations or editions of older works are likely to be copyrighted.

Some material is always in the public domain and never copyrighted (e.g., works of the U.S. government). Note that works funded by but not created by the U.S. government are likely not in the public domain and that state and local governments (unlike the federal government) can choose to copyright their works.

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HOW TO OBTAIN PERMISSIONDetermine the Copyright Holder

You must request permission from the copyright holder. Check the copyright page of the source from which you are quoting. If the publisher holds the copyright, write to their Rights/Permissions Department. If they cannot give you permission to reprint, they will tell you who holds the rights and where to contact them.

If you have any questions about whether a work is copyrighted or who holds the copyright, you may contact the U. S. Copyright Office, and it will research the matter. It will charge a fee for this service but will send you an estimate of the cost before proceeding. Address: Copyright Office, Reference and Bibliography Section, Library of Congress, Washington, DC 20559.

Another source for investigating a work’s copyright is the Copyright Clearance Center at http://www.copyright.com/.

Note: If the author is deceased or the publisher has gone out of business, the work may still be copyrighted. You must determine copyright status by contacting the Copyright Office.

Write a Request for PermissionThe sample letter at the end of this document shows you what information to include in your request. You might also enclose a self-addressed stamped envelope to expedite the reply. If you contact a copyright holder for permission and then realize that your quotation is within our guidelines, you MUST abide by the decision of the copyright holder. Once they are aware of your permissions request, there is no going back. The copyright holder’s decision on permission and fair use overrules our own.

Send Granted Permissions to your EditorLabel permissions clearly (e.g., write “Permission for Figure 4.1” in the top right corner). Be sure to keep copies for your own files.

Pay Any Permissions FeesPermission grantors may request fees; paying such fees is the responsibility of the author. These fees can vary based on print run, use of material, and format. If asked by the copyright holder to specify print run numbers, we

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recommend requesting a minimum of an 800 copy hardcover print run and a 50 copy eBook release. If the grantor denies use for a particular format (for example, eBook publication), be sure to alert your acquisitions editor. If grantors ask for a complimentary copy of the finished book, this would also fall under permissions fees and would also be the responsibility of the author, and you would be able to use your 50% author’s discount toward purchasing additional copies. As a condition of granting permission to reproduce a work of art, some sources—museums, for example—may request a color proof of the piece; be sure to alert your acquisitions editor of any specific requirements.

Please note: permissions are sometimes expensive, but authors are often able to negotiate gratis or discounted permissions from grantors because the copyrighted material is being used in an academic volume with a low print run. Please be sure to specify with the copyright holder that the material you are requesting will be used in an academic publication.

Incorporate Credit Lines into Your ManuscriptYou must include a credit line acknowledging the source of the material in your manuscript. If the letter granting you permission to reprint requires a specific credit line, you must follow it exactly. Credit lines should appear at the end of your acknowledgments section. Credit lines for photos may appear at the end of the relevant captions. Credit lines for tables may appear in a source note at the bottom of the table.

WHAT IF I DON’T HEAR BACK FROM THE COPYRIGHT HOLDER?You may use material for which you haven’t received permission if you can demonstrate that you have made a good-faith effort to contact the copyright holder and the copyright holder has not responded. You should have copies of several letters spanning at least 3 months requesting permission, receipts from any guaranteed delivery services you may have used (either from the U.S. Postal Service or a private company like UPS), information on your efforts to track down the copyright holder (if, for example, the first publishing company you contacted directed you to another), and evidence that you gave the copyright holder enough time to respond (e.g., letters spanning several months). Should a publisher be in contact with you or us after we authorize a “good faith effort” use of the quoted material, you will be required to pay any resulting permission fee.

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SAMPLE LETTER REQUESTING PERMISSION TO REPRINT

Dear Editor:

I am writing to request permission to reprint the following material from your publication: (Author, title, date of publication, pages on which material appears or other identifying information).

This material is to appear as (originally published or with changes as noted) in the following work to be published by [imprint name: choose Lexington Books or Jason Aronson], an academic press based in Maryland. (Author/Editor, title).

This book is scheduled to be published in (month/year) with a list price of approximately ($xxx.xx) in an approximate press run of (800). I am requesting nonexclusive world rights in all languages in print and eBook formats, for the lifetime of the edition.

Unless you indicate otherwise, the following credit line will appear in the book: (credit line).

Thank you for your attention to this matter. I look forward to a timely response.

Sincerely,

Author

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AUTHOR QUESTIONNAIRE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

Rowman & Littlefield is very pleased to be publishing your book. Please help us to create a successful promotional campaign by filling out this questionnaire. You are your book’s best advocate, and your assistance in the promotion of your book is invaluable and essential. Please answer all questions as completely as possible. Return this form electronically and in hard copy to your acquisitions editor when you submit your manuscript. We cannot begin production of your book until this questionnaire is returned.

Date:

1. Book title and subtitle: 2. Lead author’s or editor’s name (as it will appear on cover of book), address preferred for

correspondence, phone, fax, e-mail:3. Co-author or co-editor name/s (as it/they will appear on cover of book), address preferred for

correspondence, phone, fax, e-mail: 4. Contributors’ names and addresses (no P.O. Boxes or campus mail boxes, please): 5. Please attach your current C.V. and that of your co-author or co-editor. 6. Please supply a description of the book in 100-350 words. Even if the book is on a

specialized theme, the description should as far as possible be intelligible to the non-specialist. This description will be used to develop promotional copy. PLEASE DO NOT REFER US TO THE MANUSCRIPT.

7. Please provide a two-sentence summation (no more than 75 words) expressing the scope and theme of book. Please emphasize any selling points for the academic market you are targeting:

8. Please provide a brief description of the primary audience for whom your book is written: 9. Please list academic or professional associations or groups whose members may have a

special interest in your book, including annual professional meetings at which your book would be suitable for display (please spell out unusual acronyms):

10. Please attach a list of 10 journals in order of priority that you believe might be interested in reviewing your book, including journals in which you have published previously. Please list in order of importance. You do not need to include the journal Choice, as we send copies there as a matter of course. Do not list mass-market media such as daily newspapers or weekly magazines. Please note any special circumstances regarding journals (i.e. relationship with editor/book reviewer, etc.) that would increase the likelihood of a review.

11. Please provide names of recognized authorities on the book’s subject matter who you believe

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would be interested in providing pre- or post-publication comments for promotional purposes. Please include complete postal and e-mail addresses.

12. What keywords do you think would allow for readers to find a book with your subject matter most easily online? For example, a book addressing female authors in post-revolutionary France might have keywords such as 'French literature,' 'women's studies,' or 'European literature.' Please list up to 10.

13. If you know of any organizations that might be interested in purchasing copies of your book in bulk--to stock in bookstores, use for seminars, re-sell at various events, or to distribute or offer to their organization members--please list them below. For interested parties, we can offer various special discounts for bulk purchases. Please make sure to list a contact name, his/her role in the organization, and a contact email or phone number.

14. Foreign publishers who might be interested in copublishing or translation rights: 15. Any additional comments or suggestions for promoting your book:

Rowman & Littlefield Publishers

The College Board and American Higher Education By Michael P. Riccards

This volume traces the development of the College Board as an organization and its varying attempts to adapt to the changing demands of society. The first major study of the history of the organization done in a half century, this book traces the College Board (the College Entrance Examination Board) from its origins as a set of admissions essays endorsed by some college presidents and headmasters in the east.

Michael P. Richards is the Executive Director of the Hall Institute of Public Policy in New Jersey. He holds a PhD in political science from Rutgers University and was a Fulbright Fellow to Japan and a National Endowment for the Humanities Fellow at Princeton University. He is the author or editor of fourteen books, the best known of which is his two-volume history of the American presidency, The Ferocious Engine of Democracy.FAIRLEIGH DICKINSON UNIVERSITY PRESS$39.50 • • 1611474353 | 978-1611474350 • November 2009 • ppTo order, visit www.rowmanlittlefield.com, call 1-800-462-6420, or print and mail or fax this order form:

Name:________________________Address: ______________________City: _________________________State: _____ Zip: _______________Phone: _______________________E-mail: ______________________

 Visa   MC   AmExCredit card #:__________________Expiration: ____________________Signature: _____________________

ISBN Title PriceQty

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1611474353978-

1611474350

The College Board and American Higher Education

$39.50

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CA, CO, IL, MD, NY, PA residents, please add sales taxTOTAL

All orders from individuals must be prepaid Prices are subject to change without notice

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Billing in US dollars Please make checks payable to Rowman & Littlefield Mail form to 15200 NBN Way, P.O. Box 191, Blue Ridge Summit, PA 17214-0191Shipping and handling: U.S.: $5 first book, $1 each additional book Canada: $6 first book, $1 each additional book International orders: $10.50 first book, $6.50 each additional book*May not be combined with other offers and discounts

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EDITED COLLECTIONS GUIDE

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

As volume editor, you are responsible for ensuring quality and consistency throughout the manuscript. Please comment on draft chapters and ask contributors to make content revisions before submitting the final manuscript.

Additionally, please send your contributors the R&L Manuscript Preparation Guide, Artwork Guide, Tables Guide, and Permissions Guide. Anomalies from our standard format and styling must be approved by your acquisitions editor. Please note such anomalies in a cover letter when you deliver the final manuscript. Your additional responsibilities follow.

PERMISSIONS AND CONSENT-TO-PUBLISH FORMS You must ensure contributors provide and pay for permissions for

previously published material. Forward all permissions to your acquisitions editor along with

credit/source lines. If any permissions are outstanding, alert your editor; if it is unlikely you will obtain permission, it is best to drop the item.

At the time you submit the final manuscript to your acquisitions editor, you must also include signed and dated consent-to-publish forms from each of the book’s contributors.

We will not be able to begin production of any book project until all permissions and contributor consent forms have been received.

FORMATTING AND CONTENT STYLES Have contributors use the same subhead formatting throughout; refer

to the Manuscript Preparation Guide for styling. Style should be the same throughout. For example, if contributors use

“Conclusion” (our preference) as the final subhead for their chapter, all contributors should do so. In other words, the title shouldn’t vary from “Conclusion” to “Conclusions” to “Summary.” Regarding content style, consistency is also important. For example, in a book on dramatic criticism, establish one standard for quoting dialogue. (Should character names be bolded? Should there be a colon after the character’s name to establish that he is speaking?)

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Chapter acknowledgments should appear as the first endnote. If a chapter is reprinted, its source line should appear as the first

footnote, or you can gather source lines in a single file to be placed in a separate acknowledgments section in the front matter of the book.

Establish common note and reference styles and have all contributors follow them. Use endnotes rather than footnotes (except for reprint source line information).

If you choose to use an in-text reference system (i.e., author-date), you will need to produce a combined, end-of-book list of references instead of a separate reference list for each chapter. An exception would be if you were editing a collection of reprinted articles.

For illustrations with labeling, the contributors should use a sans serif typeface (e.g., Arial or Helvetica), to make the art look similar and prevent the illustration font from clashing with the font chosen for the text. It is preferable, though not mandatory, that contributors all use the same sans serif typeface for artwork.

MANUSCRIPT SUBMISSION All of the contributors and editors should provide short biographies

(~5 typed lines). Combine them, alphabetically by author last name, in one file with the title “About the Contributors,” and place that file at the end of the manuscript.

Provide a complete, up-to-date, electronic list of all contributors’ mailing addresses, which should be submitted to your acquisitions editor with your manuscript. This list can be included on the author questionnaire.

INDEXThe index is essential for the marketing of academic books. Libraries demand them, and we will not publish a book without one. You are responsible for providing an index for your book once you have received the typeset pages from production.

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MARKETING OVERVIEW

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

Prepublication Promotion An announcement of the book will be sent to wholesalers and data about the book will be sent to online

retailers including Amazon and Barnes&Noble.com.

Website Promotion Your book will be listed on the Rowman & Littlefield website. The page will include a description of your

book, a full table of contents, and endorsement. As reviews for your book come in, the book’s web page will be updates with excepts from the reviews.

Direct Mail Your book will be listed in the appropriate subject catalogs mailed by R&L throughout the year. These

catalogs are sent to targeted mailing lists in the academic markets, thousands of professors, individual book buyers, and academic libraries. Your book will also be listed in an annual catalog for the specific university press that is publishing your book. These catalogs will be mailed to thousands of academic libraries each spring.

Conferences Your book will be sent to appropriate academic conferences based on R&Ls pre-arranged exhibit schedule

for the year. If you regularly attend an academic conference where our staff is not scheduled to exhibit, we would be happy to email you a flyer that you can email to your contacts or print and distribute to colleagues and interested buyers at the conference.

Reviews Up to 10 unsolicited copies of your book will be sent to the key journals identified on your AQ the month

that your book publishes Review copies sent to North American journals will be arranged from our office in the United States.

Review copies sent to international journals will be arranged from our office in the United Kingdom. All new titles are sent to Choice and The Chronicle of Higher Education. After this initial review copy campaign, requests for gratis copies that are received on letterhead or via e-

mail from the reviewing journal will be considered by our publicity department on a case-by-case basis. Please direct journals to contact our Publicity department at [email protected] or contact our Publicity Assistant Jacqline Barnes at [email protected].

Publicity Our marketing department is happy to assist authors with book signings, lectures, or other author events

where the author or the sponsoring organization will be planning to sell books. Please refer organizations interested in buying copies for an event to our special sales manager, Sheila Burnett ([email protected]).

We encourage and can assist the author with any television, radio, and major print media appearances the author schedules (though we do not have a large enough Publicity department to secure such appearances for an author).

If the author chooses to hire an additional outside publicist (at the author’s expense), we are happy to work in tandem with the publicity firm to market your book.

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Awards At the author’s request, we will submit up to 6 copies of a title to the desire award committee. Entrance

fees and books beyond the first 6 copies are the responsibility of the author. You should contact your acquisitions editor with the request.

Email We encourage you to put a link to your book at the bottom of your email signatures. Please request a

hyperlink to the URL for your book on the R&L website from you editor. A discount code will also be provided with the link at the time of the request.

International Marketing In addition to the marketing outlined above, we will also market and distribute the book internationally

from our office in the United Kingdom. Our UK marketing arm provides the following marketing services for each title:

Advance Book Information. ABIs will be adapted and sent to the international sales agents; Review copies to international journals; Mail seasonal catalogues to international academics and libraries as well as international sales agents; and Work with international sales agents on special sales.

To discuss any international marketing issues, please contact Suzanne Wheatley at [email protected].

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CONSENT TO PUBLISH AGREEMENT

FOR CONTRIBUTORS TO EDITED VOLUMES

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

I understand that my chapter

will be published in the

book entitled

to be published by Rowman & Littlefield. I understand that I will receive one free copy of the book from the Publisher and may order additional copies at a 50 percent discount from the list price. I may purchase other titles on the Publisher’s list at a discount of 25 percent discount from the retail price.

Choose A or B

A. I certify that my chapter has never been previously published or copyrighted. I hereby assign

copyright to R&L.

Typed name

Signature Date

B. My chapter has been previously published in

. Permission has been obtained to reprint this

chapter in the above-mentioned R&L book. A copy of that permission is attached.

Typed name

Signature Date

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Contributor’s Address and telephone number:

* Address and telephone number must be supplied in order to receive complimentary copies.*

Please return this signed form to your volume editor, who will forward a complete set to R&L.

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CONSENT TO PUBLISH AGREEMENT

FOR TRANSLATORS TO EDITED VOLUMES

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

I understand that my translation constituting part or the whole of the chapter ______________________________________________________________________________will be published in the book entitled ______________________________________________________________________________ to be published by Rowman & Littlefied.

Choose A or B:

A. I certify that my translation has never been previously published or copyrighted. I hereby assign copyright to R&L.

Typed name

Signature Date

B. My translation has been previously published in . Permission has been obtained to reprint in the above-mentioned R&L book. A copy of that permission is attached.

Typed name

Signature Date

Contributor’s Address and telephone number:

Please return this signed form to your volume editor, who will forward a complete set to

R&L.

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I,

_______________________________________________, agree that the photo taken

of me may be published inside/on the cover of the book

______________________________________________________________________________

to be published by Rowman & Littlefield.

_________________________________________________ ___________________________Signed Date

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ROWMAN & LITTLEFIELDBUCKNELL UNIVERSITY PRESS ∙ FAIRLEIGH DICKINSON UNIVERSITY PRESS

LEHIGH UNIVERSITY PRESS ∙ UNIVERSITY OF DELAWARE PRESS

REVISING YOUR DISSERTATION FOR PUBLICATION

ROWMAN & LITTLEFIELD

Bucknell University Press Farleigh Dickinson University Press∙

Lehigh University Press University of Delaware Press∙

While each dissertation is different in content, there are some common characteristics that center on the presentation of the material. A dissertation’s emphasis is on the formulation of the hypothesis, the literature search, and the methodology employed. Chapters tend to be few in number and longer in length. They often end with a summary of what has been covered leading into a preview of the next chapter, and culminate in suggestions for further research to be undertaken. The dissertation’s primary audience is a small dissertation committee, and it acts as a means by which the doctoral candidate can prove the scope of her knowledge in a particular field to her dissertation committee.

By contrast, a monograph’s purpose is not to demonstrate everything the author knows about a particular topic but, rather, to act as a vehicle for the author’s original contribution to a particular field of study. A monograph makes its argument over the course of several chapters that are of readable length and ends with a conclusion that pulls together the analysis and thought in the chapters preceding it. Its audience can vary, but most likely will include scholars and academics—the author’s peers.

In order to successfully turn your dissertation into a monograph, the following changes and considerations must be incorporated in the final manuscript:

Make any changes/additions to the project that were suggested by your dissertation committee members. If your dissertation committee advised that certain changes needed to be made before the dissertation was suitable for publication and you have not done so already, you should take some time to address their concerns.

Drop the literature survey. If there are parts of the literature survey that you feel are particularly crucial to the book, weave them seamlessly into the text.

Drop the methodology section. If you find it necessary to provide a brief overview of the method by which you collected data, then do so in the form of a brief note placed in the front matter or introduction of the manuscript.

Cut down on excessive quoting. A monograph should be primarily your voice, not the voice of others. Therefore, it is imperative that you significantly decrease the number and length of any quotations you put into your manuscript.

Paraphrase well-known concepts rather than quoting verbatim. For example, Benedict Anderson’s notion of imagined communities is such a familiar concept for academics working in the humanities that you can simply absorb Anderson’s definition in your prose.

Cut down on the number of examples Avoid repetition Decrease the number of end/footnotes Avoid using the passive voice Banish the imperial “we”

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Pare down the bibliography Make sure your research is up-to-date. This is particularly important if several

years have gone by between the writing of the dissertation and the monograph’s publication. Your manuscript should be as current as possible so that it is still relevant when published. If it’s not relevant, then who will want to buy it?

Revise your title if necessary. Is the title of your dissertation particularly long or abstract, or does it have strange punctuation marks mid-word? If so, then a title revision is in order. Titles of monographs should be concise, with key words appearing in the main title instead of the subtitle to facilitate online searches for the book.

You may consider adding related material that was excluded from the specific focus of the dissertation but that will be of interest to a broader audience. Please let us know if this is the case with your work and, if so, how you propose to integrate the material with the text of your dissertation. We do not want you to water down your context but would encourage you to think about how best to attract as wide an academic audience as possible.

We look forward to working with you on this project. Please do not hesitate to contact us with questions or concerns.

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